Preamble
This is the fourtieth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
Green Pigments - Part I
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Green Pigments - Part I
The character of a mixed green made with lemon or pale yellow is toally different from that of one made with a golden (medium or deep) yellow.
Different shades of green.
Greens are toned down or brought toward olive, if too brilliant, by the addition of a clear red or reddish pigment, burnt sienna for warmer shades, cadmium red or alizarin for cooler ones. The character of a mixed green made with lemon or pale yellow is totally different from that made with a golden (medium or deep) yellow.
Yellow and blue are two colors that make green when mixed together. Simple, but effective.
Different shades of blue and yellow mixed together can make different shades of green.
Above are mixing processes that make the green colour muted using a combo of blue, green and yellow mixed with red.
Chrome greens are usually taboo in artistic painting: their color stability is less than that of either of their single ingredients; usually Prussian blue fades first; the green becomes yellowish or brownish and then lighter as the chrome yellow changes.
Chrome Green.
Chrome greens may be matched or closely approximated by mixing phthalocyanine blue with the various permanent yellows. Sap greens resemble mixtures of phthalocyanine blue and either transpearent ochre or cobalt yellow dulled with a touch of burnt sienna.
Sap Green.
Hooker's green may be matched by a mixture of phthalocyanine green and cobalt yellow dulled with a touch of burnt sienna.
Hooker's Green Pencil.
Most greens made with Prussian blue cannot be duplicated without its use or that of phthalocyanine blue; if the latter is not available, a mixture of Prussian blue and permanent yellow is far preferable to one in which such definitely fugitive yellow pigments as gamboge, lakes from buckthorn berries, etc., are used.
Verdigris and similar copper greens are rather easily imitated by using viridian as a starting point. The great variety of shades in which these colors were made make it impractical to mention the additional pigments specifically.
Verdigris.
Chromium oxide green is one of the most inert and permanent pigments in use, but it finds a smaller application in artistic painting than do other greens on account of its low tinctorial power and its limited color effect.
Chromium Oxide Green.
It is still liked among artists for its pleasing hue. Cobalt greens, light and dark, are also opaque, permanent pigments with relatively low tinting power and with similarly pleasing color properties; they are definitely bluish greens by comparison with chromium oxide, which in comparison seems warm and yellowish.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
This is the fourtieth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
Green Pigments - Part I
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Green Pigments - Part I
The character of a mixed green made with lemon or pale yellow is toally different from that of one made with a golden (medium or deep) yellow.
Greens are toned down or brought toward olive, if too brilliant, by the addition of a clear red or reddish pigment, burnt sienna for warmer shades, cadmium red or alizarin for cooler ones. The character of a mixed green made with lemon or pale yellow is totally different from that made with a golden (medium or deep) yellow.
Chrome greens are usually taboo in artistic painting: their color stability is less than that of either of their single ingredients; usually Prussian blue fades first; the green becomes yellowish or brownish and then lighter as the chrome yellow changes.
Chrome greens may be matched or closely approximated by mixing phthalocyanine blue with the various permanent yellows. Sap greens resemble mixtures of phthalocyanine blue and either transpearent ochre or cobalt yellow dulled with a touch of burnt sienna.
Hooker's green may be matched by a mixture of phthalocyanine green and cobalt yellow dulled with a touch of burnt sienna.
Most greens made with Prussian blue cannot be duplicated without its use or that of phthalocyanine blue; if the latter is not available, a mixture of Prussian blue and permanent yellow is far preferable to one in which such definitely fugitive yellow pigments as gamboge, lakes from buckthorn berries, etc., are used.
Verdigris and similar copper greens are rather easily imitated by using viridian as a starting point. The great variety of shades in which these colors were made make it impractical to mention the additional pigments specifically.
Chromium oxide green is one of the most inert and permanent pigments in use, but it finds a smaller application in artistic painting than do other greens on account of its low tinctorial power and its limited color effect.
It is still liked among artists for its pleasing hue. Cobalt greens, light and dark, are also opaque, permanent pigments with relatively low tinting power and with similarly pleasing color properties; they are definitely bluish greens by comparison with chromium oxide, which in comparison seems warm and yellowish.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
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